{"id":6084,"date":"2004-05-07T15:13:15","date_gmt":"2004-05-07T15:13:15","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2004\/05\/07\/smiling-at-me\/"},"modified":"2004-05-07T15:13:15","modified_gmt":"2004-05-07T15:13:15","slug":"smiling-at-me","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2004\/05\/07\/smiling-at-me\/","title":{"rendered":"Smiling at Me<\/i>"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

Art preservation isn’t exactly my bag.  I understand the great pains
\nmuseums go through to fight the agents of time.  But everything ages;
\nthe art object, in effect, can never be construed as materially permanent. 
\nRight?<\/p>\n

\n
\nThis article<\/a> from earlier in the week started me thinking about the
\npossibility that DaVinci could<\/i> have imagined transformational deteriorations in
\nhis most famous painting, Mona Lisa.  So she’s warping; the wood is
\nbending, with it her expression, her "look": skew. Time has its way.  The
\ncertainty of decay evades the most technologically zealous efforts to counteract
\nimminent physical forces.  What will Mona Lisa’s expression be in thirty
\nyears?  three-hundred years?  three-thousand years? as she peers from
\nbehind the Lourve’s sealed container and untold layers of varnish.<\/p>\n

The material alteration–a warped original–is less concerning to me than the
\nunmentioned details about the numerous ways in which her image has, through
\nreproduction, been simulated and processed, pasted on t-shirts, etc. John Berger
\ntouches on this in "Ways of Seeing"; Walter Benjamin, too, divides the cult
\nvalue from the exhibit value, differentiating between the object and its
\noriginal. The cult value is more interesting to me; perhaps the diminishing of
\nthe exhibition value arouses the cult value, and, in turn, the cult value shifts
\nthe exhibition value into a grotesque copy of itself, as a sort of popular
\ndistortion. These value shifts underscore political revolution, too, I
\nsuppose, turning Fascism on its head. (Yep.  I need to go back and brush through Benjamin’s
\n
\n"Mechanical Reproduction."<\/a>  And all of this–Berger included–is in the
\nWays of Reading<\/i> anthology, 6th ed.) <\/p>\n

This brings me to a confusing mix of issues that I find fascinating. 
\nWhere Benjamin discusses "unconscious optics,"  I wonder about the extent
\nto which conscious<\/i> optics are akin to copyright infringement, to the
\ncontrols creeping counter to the CC movement and twinkles of liberated IP.  Technologies
\nare making mechanical reproduction–via fragmented pixelations as frequently as
\nfilm photography or film-based moving pictures–more popular and accessible than
\never before. I imagine conscious<\/i> optics lining up with comp\/rhet in
\nways they seek for students to engage in the –graphy<\/i> that is openly,
\nvisually reproductive.  And this call for a mix of visual rhetoric, image
\nand design is not new, nor should it ever be entirely divorced from the
\nconstruction of meaning and its pal, hermeneutics.  That is, rather than leaving aesthetic making to
\ninaccessible technologies and their expert operators, we ought to engage students in
\naesthetic reproductions tuned rhetorically, tuned textually. No doubt, this
\napproach to composition is catching on in a few exciting places.   <\/p>\n

This turn is also playing out against IP tensions, intractable media
\nownership issues, and Paleolithic systems for sharing (or not). It makes me
\nwonder whether the fight for Creative Commons can buck the fangs-sunk-in monster
\nof sole proprietorships in new media.  We have systems–albeit arcane–for
\ndocumenting text, attributing origins(!), and giving credit when we must. 
\nBut systems for attribution in new media seem far less wieldy.  What are
\nthey?  Do they come in the form of a Works Cited at the end of a flash
\nclip?  Consider this excerpt from
\n
\nan article<\/a> in the NY Times this week (link via
\n
\nunmediated<\/a>):<\/p>\n

\nMr. Routson’s work, which is not for sale, is the latest to find itself in
\nthe murky zone between copyright infringement and artistic license, between
\ncultural property rights and cultural commentary. On Oct. 1 a new Maryland law
\nwill make the unauthorized use of an audiovisual recording device in a movie
\ntheater illegal. Last week two people were arrested in California for operating
\ncamcorders in movie theaters. One was apprehended by an attendant wearing
\nnight-vision goggles.\n<\/p><\/blockquote>\n

It’s not definitive (nor am I carefully read in these matters–sincere
\napologies!), but there comes a convergence between mechanical reproduction,
\nmedia proprietorship, reproductive rights (as in copying media rather than
\nmaking babies), and this business of conscious<\/i> optics.  I have
\nsuspicions that as the gulf between technology and humans narrows, as assistive
\ndevices help us see, hear, remember with tech-stimulated consciousness
\n(recorders, amplifiers, etc.), the boundaries between experience and mediation
\nwill blur and with them, the battles over IP will flourish, perhaps even
\ncrossing over into our minds (you can’t think it if you don’t have the rights!). 
\nMona Lisa’s warp and laws against filming in a movie theater: pieces of a
\nfascinating series of media twists.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>Art preservation isn’t exactly my bag.  I understand the great pains museums go through to fight the agents of time.  But everything ages; the art object, in effect, can never be construed as materially permanent.  Right? This article from earlier in the week started me thinking about the possibility that DaVinci could have imagined transformational…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[165],"tags":[],"class_list":["post-6084","post","type-post","status-publish","format-standard","hentry","category-media_massage"],"yoast_head":"\nSmiling at Me - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2004\/05\/07\/smiling-at-me\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Smiling at Me - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 3 minsArt preservation isn’t exactly my bag.  I understand the great pains museums go through to fight the agents of time.  But everything ages; the art object, in effect, can never be construed as materially permanent.  Right? 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Though non-linear, many of the signs accord with a variety of \"euphoric values,\" says Barthes: domestic preparation, freshness, an unpacking, the casual market-knowledge of slow foods of a pre-mechanical pace (no\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/img\/panzani.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":8824,"url":"https:\/\/www.earthwidemoth.com\/blog\/2023\/08\/13\/toward-fruitbody\/","url_meta":{"origin":6084,"position":4},"title":"Toward Fruitbody","author":"Derek Mueller","date":"August 13, 2023","format":false,"excerpt":"It has been three weeks since we attended the mushroom propagation workshop hosted by Gnomestead Hollow Farm and Forage, a three hour event followed by Driftwood Catering's wild mushroom fungi-to-table dinner, an all-in-all rhizomatic and friendly time, with attendees from neighboring counties and as far away as Tennessee and North\u2026","rel":"","context":"In "Gobstuff"","block_context":{"text":"Gobstuff","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/gobstuff\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/wp-content\/uploads\/2023\/08\/IMG_8077-scaled.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/wp-content\/uploads\/2023\/08\/IMG_8077-scaled.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/wp-content\/uploads\/2023\/08\/IMG_8077-scaled.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/wp-content\/uploads\/2023\/08\/IMG_8077-scaled.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/wp-content\/uploads\/2023\/08\/IMG_8077-scaled.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.earthwidemoth.com\/blog\/wp-content\/uploads\/2023\/08\/IMG_8077-scaled.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":7116,"url":"https:\/\/www.earthwidemoth.com\/blog\/2007\/12\/02\/haskins-between\/","url_meta":{"origin":6084,"position":5},"title":"Haskins, “Between Archive and Participation: Public Memory in a Digital Age”","author":"Derek Mueller","date":"December 2, 2007","format":false,"excerpt":"Haskins, Ekaterina. \"Between Archive and Participation: Public Memory in a Digital Age.\" RSQ 37.4 (2007): 401-422. Opening premise: public memory work must consider the digital archive. Haskins writes, \"This article proposes to examine memorial functions of the internet in light of recent scholarly debates about virtues and drawbacks of modern\u2026","rel":"","context":"In "Reading Notes"","block_context":{"text":"Reading Notes","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/reading_notes\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6084","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/comments?post=6084"}],"version-history":[{"count":0,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6084\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/media?parent=6084"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/categories?post=6084"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/tags?post=6084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}